The 2nd issue at hand is that on Tuesday, 9/27/11, although some online reports place this drill for TODAY, Friday, September 23, so be on the lookout and the drill is a terrorism-based, full-scale emergency exercise will also take place in multiple locations around the Denver Metro area. The exercise will involve first responders from 81 different agencies, will be conducted at ten separate locations, and will include loud noises, simulated weapons, smoke, emergency vehicles and other equipment that will be audible and visible throughout the day. Two of the locations are Park Meadows Mall and Sky Ridge Medical Center so don’t be alarmed if you see a lot of activity in these locations.

I want to make 1 thing clear 1st, there are drills like this all the time, almost every week, and its been like this for years. It doesn’t mean anything other than that you should always be prepared anyway, if you understand preparedness and the intelligence behind the 1st rule of boy-scouts, then you should be fine. Don’t be paranoid and don’t let things get to you, but you should always be prepared for anything and everything. We live in a world where anything can happen, even the total destruction and catastrophic is possible, so don’t think about it all day and night, be ready for it and move on in your life. Don’t let it eat you up, just be prepared for it and continue.

This drill in Denver is specifically peculiar because I have not seen the President specifically mobilized for any event or drill, so it caught my attention.

The drill is being called:

Defcon 1 Cocked Pistol

THE US ARMED FORCES WILL BE RUNNING A DEFCON 1– COCKED PISTOL – MAXIMUM READINESS ALERT DRILL ON SEPTEMBER 27TH. Now, as many of you know Obama and Top NASA Officials will be in Denver on this Date.

Many people are aware of NORAD, which is built just outside of Colorado Springs, many miles just south of Denver International Airport. Colorado is home to many underground installations, including the “Federal Center” and dozens of FEMA, Department of Agriculture and Department of Energy facilities, all of which underground. This is not just for some random reason. Colorado is almost centrally located in the country and is landlocked so well that it is arguably the best defensive position for any military to place its most important assets. Just like how Bin Laden went to his mountains in Afghanistan, Colorado is also home to the Rocky Mountains and is the largest metropolis along these mountains, so therefor, not only is Colorado centrally located, it has the advantage of mountains to burrow deep into and protect facilities as well. All in all, these are the reasons you will find so many underground installations here.

DIA was built with 50,000 of fiber-optics, 10,000 miles of copper, and was over budget more than 3 times the original amount. It is one thing for a $1.7 Billion airport to be off a few hundreds million, but to be at almost $5 billion on completion, that’s just a joke. Clearly something else is there, the question is what? Investigations into fraud were conducted but most thought it was, when in reality, it was probably just “cover” for another purpose for construction that could not be disclosed. That is why NO ONE went to jail for fraud, and ALL of the Denver media, for many years, reported on what we all thought was embezzlement and fraud. Bare in mind that when they built the airport, the first tram system underground was cancelled during construction and they built a new one. The baggage system was also “redone.” Also, a Denver Post article stated that a 6-story building was built with “Errors” and they decided to “bury” the building rather than demo it. WHO BURIES A BUILDING?

Over the course of the construction, multiple teams were brought in from around the world and the reality is that the construction managers and teams constantly changed, which was all well publicized in Denver press. To make things more obvious, the people behind the fraud investigations in Denver’s airport were all very close to defense contractors and even the Bush family specifically, which many conspiracy theorists say is evidence of all this meaning there is an underground installation at DIA. Officially, DIA is the largest airport in the world by land mass and has 3 back up water systems, 4 back up power generation centers, an additional 4.5 megawatt solar panel array to be labeled “green” and what appear to be 5 or 6 extremely large ventilation shafts which are officially ventilation shafts and air systems, which have never been present at ANY airport in history. The things look like mini-nuclear power reactors for heaven’s sake.

Here is 1 view of just 1 of the solar fields:

Here is a photo of the solar fields we know of:

The airport was built in 1995 on 34,000 acres (53 square miles; 137.593 Sq.km) in spite of the fact that Denver already had what everyone said was a perfectly fine airport – Stapleton – which was ordered closed when DIA was built so there “wouldn’t be any competition”.

In fact the new airport has less gates and less runways than Stapleton did (I hope you’re saying, “That makes no sense”…). All it does have is a lot more acreage. More acreage than an airport that size could possibly need. Most which sits unused. They say it’s in case they need to do any future expansion. DIA is the 7th busiest airport in the US according to a 2002 Crain’s Chicago Business report.

The initial cost of this New Beast was to be 1.7 billion dollars (with a “B”) but by the time they were done playing games, having problems, getting bailed out and got extra government money (and money from private corporations on top of that), it cost about $4.8 billion – obscenely over budget. I have yet to meet a local who wanted the thing built, or didn’t have a frothing, rabid story about the whole mess. Words used to describe the DIA were “buried in technical problems”, “poor project management”, “overwhelming complexity” and “America’s most inconvenient airport“. It was built in a high wind area (Stapleton hadn’t been) that causes it to be shut down or flights delayed often. The extensive automated baggage system so was messed up, such a circus of errors that it was worse than unusable – it was an industry joke. But it had to be built, and built there. Some say the reason that this was built and there was no stopping it, no cost spared to do so and why it was so SO overbudget and took so many years is because it has other construction that is not “allowed” to be disclosed.

Some more interesting facts:

Even though the area is basically flat (with a stunning view of mountains all around, since it’s in a valley), the expense and time was taken to extensively lower some areas and raise others. They moved 110 million cubic yards of earth around. This is about 1/3rd of the amount of earth they moved when they dug out the Panama Canal.

The airport has a fiber optic communications core made of 5,300 miles of cable. That’s longer than the Nile River. That’s from New York City to Buenos Aires, Argentina. The airport also has 11,365 miles of copper cable communications network.

The fueling system can pump 1,000 gallons of jet fuel per minute through a 28-mile network of pipes. There are six fuel hold tanks that each hold 2.73 million gallons of jet fuel. This is somewhere in the “no one will ever ever need this much” range.

Granite was imported from all over the world – Asia, Africa, Europe, North and South America – and used in making the main terminal floor. This is a ridiculous expense, especially when you’re already over budget. They say, “The floor pattern echoes the roof design and subtly reinforces passenger flows”. Ah…subliminal messages to move your ass. It might look pretty but would any of us know Chilean granite from Chinese granite? Or care? You can dye rock if it’s colors you’re after. Cheaper rocks. (I wonder what the “stones have power” people say about this…)

The huge, main terminal is Jeppesen Terminal, named after Elfrey Jeppesen, who was the first person to create maps specifically for aviation (the company is still in business today). This area is known as the “Great Hall”; it’s said this is what the Masons name their meeting place.
It is 900 feet by 210 feet big. This is over 1.5 million square feet of space. All told, there is over 6 million square feet of public space at DIA. The airport brags that they have room to build another terminal and two more concourses and could serve 100 million passengers a year. The airport flew 36 million in 2001.

The only way to get to the other two concourses/terminals from the Great Hall, or vice versa, is via the airport’s train system.

There are more than 19 miles (30 km) of conveyor belt track, luggage transport cars and road in their own underground tunnels that move baggage and goods. They’re so huge you can drive trucks through them, and some remain unused.

The entire roof of DIA is made of 15 acres of Teflon-coated, woven fiber glass. The same material is on the inside as a layer, also. The place looks like a bizarre (but kind of cool) scene out of “Dune”, comprised of huge, spiked tent-like structures. The material reflects 90% of the sunlight and doesn’t conduct heat. So you can’t see into the place with radar or see heat signatures.

The Airport sits on 53 vastly unused square miles – at least as far as the surface is concerned. Air vents and miniature cooling towers, described as being part of the ventilation and exhaust system, jut-out of the ground across the barren surrounding acreage. But, since they occur so far from the terminals in such remote parts of the barren property, some researchers are led to ask, “Ventilation and exhaust from where?”

THE MASONIC HEADSTONE AND TIME CAPSULE

On the southeastern side of the Terminal, called The Great Hall in high Masonic fashion, is the Masonic Headstone. It openly refers to the New World Airport Commission and dedicates the airport as a “Most Worshipful” Masonic Grand Lodge with additional references to Grand Masters and Great Halls. In the center is the Masonic “G” surrounded by the compass and the square. An arm extends over the Headstone and culminates at a mysterious keypad.

A Time Capsule meant to be opened in 2094 is buried beneath the Headstone. The Airport claims it contains future sports memorabilia, future Native American cultural artifacts, books and newspaper articles relevant to the Airport, photographs, flight charts, and a piece of the roof “among other things.”

There are two Gargoyles overlooking the infamous baggage claim area. They are very large and very high up, called Notre Denvers after the Notre Dame Gargoyles, and have been said to help to create the Airport’s cathedral-like associations.

THE MURALS
Mural By Airport Doorway

The Murals at the Denver International Airport originally covered four massive walls and were called “Diptychs,” works consisting of two painted or carved panels that are often hinged together. The four Murals, which I number 1 through 4, form two Diptychs, then: The first comprised of Murals 1 and 2 and the second of Murals 3 and 4.

Murals 1 and 2, the first Diptych, specifically deal with Nature whereas Murals 3 and 4, the second Diptych, present their subject matter in the city. Children figure prominently in all four Murals.

Many portions of the Murals have since been changed, two of the four walls being completely covered, and a third has been significantly modified. The Airport’s Website claims that artwork is rotated or refreshed from time to time so new artists can be shown.

Following are rare depictions of all four Murals in their entireties. They are seldom seen complete, never in the correct order, and often resulting in increased confusion and misinformation.

In order to achieve this most orderly, aesthetic, and ideal presentation of the Murals, some had to be joined from two, three, or even four panels (as with Mural 1), all had to be edited for photographic flaws, and all had to have their metal guard rails removed for an optimal viewing experience. Images taken from other angles provided the missing artwork.

The Murals have sparked such consternation and alarm that many researchers have managed to see things that are simply not there. And, since there is already more than enough nefarious and dire content to merit a lengthy dialog, we will try to dispel or at least question the many incorrect claims and observations in an effort to clarify the existing body of information on the Denver Airport Murals.

Finally, let there be no mistake, these are masterful and beautiful works from a technical point of view. Our study here concerns, rather, the nature, purpose, and possible agenda of the subject matter and content, including their suitability for display in the Main Terminal of the seventh busiest airport in the United States.

Below are some of the photos they took, along with commentary written by Ms. Christopher in 1995:

All of the following pictures are of the underground area at the Denver International Airport. Most of the areas are not being used, dead baggage equipment, long highways, many chain link fences and locked up fences that lead to lower levels and to what I know not. Many large open areas are not being used. Many large fenced in areas are not being used.

[Phil Schneider] pointed out many things to me, such as, on the lowest level we could go into in the underground was very hot, not cool like a basement. He said it was hot because there were many level below it and the heat from there was rising from below us.

As told to me by a person that worked with one of the construction companies, there are five secret underground buildings with a depth of from 75 to 120 feet on each one, all with interconnecting tunnels to each other and with 2.50 to 3.00 mile long and 16 feet wide. I have even been told of a huge forty foot diameter tunnel that was already constructed and in place in this area and is believed to connect with “Dreamland.”

He looked at the electrical panels as we passed them and a crew of electricains were working on the panesl and he said they were N.S.A. and that the size of the panels would indicate that there were at least eight levels below this lowest level and that we were on in the the Denver International Airport underground.

I will tell you this–it is strange down there under Denver Airport. This airport underground puts out a set of feelings. I can’t tell you if what I am picking up there are things that are going on underground in that area at this time, or if I am picking up what has happened there in the future which we have not arrived at yet.

[There are] two secret runways longer than any of DIA’s runways. A source who worked for Bechtel Corp, who helped build these told of the $50 million high tech runways that were built in the wrong place in 1990 and then covered up with about 4 inches of dirt. (They will possibly uncover them someday soon to be used.)

[Schneider] said the [plans] for the complex were for hundreds of miles of underground roads, all connecting with high-speed bullet trains that can go at “Mach” speeds. He also went on to tell me that most of these bases are now jointly occupied by humans and either ancient earth races or alien races. According to him, these underground bases are to serve many different purposes, such as medical research labs, prisons, work camps, military accommodations, food storage, etc.

[Schneider] told me about the time when he was in the battle in an underground cavern where they accidentally broke into a nest of the large grays aliens. The one thing that I remember so well is the description of the large gray’s eyes.

He said that in the fight with them, one of them that he killed, the eye shields popped and and revealed yellow snake eyes with the up and down type of pupil like a reptilian.

He also discussed the underground bases/prison camps. He said there are thousands of children being used in these underground prison camps and that when they are physically all used up and can not go on, that the nasty Draco’s kill, slaughter and eat them on the spot.

The part of the covert government/CIA etc. that are involved with the underground bases that are jointly occupied with these agents and negative aliens have been for years working together to create a most deadly biological/germ warfare product. They have found that by using glandular secretions from the aliens to create the biological weapon that is totally deadly to humans while it has not effect on the aliens. And of course there is no antidote or if there is, the government is the only one with it.

[Below] is a picture of one of the long four sided concrete tunnels at the Denver International Airport that runs along adjacent to the tram tunnels. There is only one entrance into this concrete tunnel under DIA from the tram tunnels. One end is open in the working areas of the underground and at the very end of the tunnel where the line ends at Concorse C, there you will find a huge steel door that is large enough for a dump truck to enter. The steel doors open onto 55 square miles of open flat empty land that could be used for anything.

I hope you can sleep well knowing this information, as for myself, I sleep very little. –Alex Christopher.

MURAL ONE

The first Mural depicts plants, animals, children, and nature. In fact this one is actually called “At Peace and Harmony with Nature;” which may sound all right at first, until we recall the First Commandment chiseled in eight languages on the giant slabs of the ominous Georgia Guidestones,

MAINTAIN HUMANITY UNDER 500,000,000 IN PERPETUAL BALANCE WITH NATURE,

with its explicit endorsement of eliminating 95% of the world’s population in order to achieve that harmony and balance. Harmony and Balance with Nature is just a long-suspected code phrase for New Age, New World Order mass depopulation longings, an issue that is reaching a deafening crescendo in the annals of Urban Legends. As we progress through the Murals, the connection will become brutally obvious.
Denver Airport Mural 1

The first mural is the Left Side of the first Diptych. It is one of the walls that have since been painted over. It is rich in content and full of exquisite detail.

A haloed or headdressed, Latin American Christ figure, possibly Mayan, probably male, adorns the exact center of the Mural. He sits before a colorful, glowing plant, palms suspended over the aura, like someone divining a crystal ball or warming his hands over a fire. It has been pointed-out by experts that the plant is not recognizable as existing anywhere among the earth’s flora. Various animals and the children of the nations of the world excitedly and ecstatically approach from all directions, many described as floating in air.

In the bottom left and right corners are gardens of assorted plants and fungi that one researcher has determined are all either poisonous or mind-altering. There is a wide cross-section of animals said to be recognizable worldwide as Masonic symbols. Many, including the whale, the leopard, and the hovering Quetzal bird, will reappear dead in the next mural. The leopard cubs bear photographic faces of human children.

The first Mural includes a large subset of the many children of the nations of the world found in the Third Mural. It has been pointed out by one researcher that the bodies of the children are deformed and disproportional, “usually their head and shoulders are normal size and their waists and legs are tiny or shriveled.” Children of color only appear to be represented as from their original homelands and never as part of the children of the industrial nations.

The child to the left of the glowing plant has a photographic face. Some claim he only has one leg and likewise claim that the girl flying alongside him has no bottom half. Below the leopards, an Asian person is facing the wrong way as everyone else, a theme oddly repeated three or four times in the Murals. Another example being found beneath the desert area at the far right. On the German child in blue lederhosen, one researcher has claimed to have observed Radiation and Iron Cross symbols on the lapels. We have not been able to confirm this. Nor are we so convinced, as are others, that another child in stripes is intended to recall Nazi concentration camp garb.

From left to right across the Mural, the various environments of the earth are represented: Oceans, Forest and Pastures, Mountains, Tropics, and Desert. In the foreground, the earth’s surface is a wavy sheet separating it from the underground. As with many Escher works, a Mobias Strip-like illusion is created along the edge where some people appear to be standing on top of the edge while others appear to be standing behind it.

And many other things have been observed which simply cannot be verified or confirmed, researchers in possession of unclear images or perhaps so caught up in the general hysteria over these Murals that they’ve lost perspective of the particulars. Hidden eyes and faces have supposedly been placed throughout the clouds, the clothing, and the landscape. Under the carpet of the ground, some claim to see “angry black ape-like faces,” perhaps actually the shadows of the butterflies. A double red face in the top left; even chemtrails in the sky. One person describes “a blob by the leopards” that is “not part of any of them and is out of proportion to the rest of their design.” But there is no such blob; at best, perhaps the excessively thick size of the Leopard cub’s tail was mistaken for a disembodied blob.

Elsewhere, a tentacled monster is described as being in a fissure in the desert in the upper right. But, upon closer examination, we find no fissure, only sand dunes; the monster is some kind of wildebeest; and with spiral horns, not tentacles.

Finally, one prominent researcher even describes the earth as being “divided into Above and Below and … propped up by metal poles in front.” Unfortunately, those metal poles were not actually in the Murals but were guardrails standing in front of them on the Airport Terminal floor.

MURAL TWO

The second Mural, the right side of the first Diptych, is, in its context, quite disturbing: A blatant and shocking depiction of death, extinction, and deforestation.
Denver Airport Mural 2

As with the first Mural, another Latin American Christ figure in halo or bandana or headdress, again possibly Mayan, this time most likely female, again adorns the exact center of the Mural. Instead of a magical plant, she hovers over the corpse of the leopard mother from the first Mural, in wild mourning or incantation.

Across the bottom third of the Mural, from far left to far right are the three coffined women. Claimed by some to represent the races to which the Masters wish to put an end: On the left, the African woman, complete with chain about her neck and drum to keep the beat or expiate evil spirits; in the center, the Latin, the Indian, with magical amulet in her arms, foliage headdress and aura about her head, resembling the Virgin Mary; and on the right, the Caucasian girl usually described as the Jewish girl because she has the Star of David sewn onto her sweater vest. But, because she also clutches a Bible with a conspicuous Christian Cross on its cover, she more likely represents both Jewish and Christian. It has been pointed-out that the open watch hanging from her neck means that the time is near. Curiously missing, an Asian representative, though found, as described, throughout the murals facing conspicuously away from the action and focus of the respective scenes. I felt uncomfortably like a mortician as I touched up the photos of the three dead women.

Another Mayan girl stands to the left of the Christ figure, holding out a stone tablet describing the Mayan End-of-the-World prophecy. An apprehensive child holds a squirrel which, if alive, may be the only living creature around.

Many of the animals alive in the first Mural are dead in the second. The whale from the first Mural now without mate, appears to be stuffed, while bright red seems to issue from its mouth and the city in the background; the Quetzal bird from the first Mural is entombed in a glass cube, though two sides and the bottom are missing and its remaining pieces are suspended independently; and, as mentioned, the mother leopard from the first Mural lays dead over the center coffin.

Other animals and their artifacts include a giant tortoise still adorned in his fishing net, a mounted buffalo head, a zebra pelt, a stack of elephant tusks, a smaller Quetzal bird hovering above the tortoise’s head, and a penguin (Great Auk) and pigeon (Passenger Pigeon) both also stuffed and entombed in glass and, like the Quetzal bird, each with a tag declaring its date of extinction. Curious that, from all the extinct species from which to choose or fabricate, they would choose the Passenger Pigeon, a name so obviously intended to make reference to the Airport’s patrons.

The distant rows comprising the fields alternate between brown and green and extend forward in classic perspective to harmoniously correlate to the lines and colors of the three coffins, as if to imply that the fields are but fields of graves extending to the foreground from the mayhem in the distance. Some of the flowers from the first Mural decorate the coffins. In the background, a towering forest of giant redwoods is on fire. After a myriad of depictions of nature so far in these first two Murals, we find cradled in the distance, in the space between the smoke and fire and the woman’s head, the first sign of urban life, foreshadowing the next two Murals that focus more on the city instead of on nature and the animal kingdom.

Though the colors may be partly to blame, it is often mistakenly referred to as “the burning city.” But it is clear enough that the city is not on fire. But, though not exactly twin towers, there are indeed two towers, as some have contended, in the distant city. Those who believe that these Murals are a blueprint for what the Masters have planned for the Masses have postulated a connection between these towers and the 9/11 disaster.

After a continuous litany of complaints, the city was repainted, but surprisingly only making the colors more clear and intense. In addition, the rows of the field were made all green. Later, they were both completely painted over, only adding more fuel to the flames of suspicion. “Why change the field if they’re worrying about the image upsetting people? The whole damn thing upsets people,” complained one observer. It could, instead, be an indicator of an item having been removed from the checklist that the Murals graphically prophesize: “If there were any truth in the statement that the murals show what they are going to do to their Masses, is the fact that the city is gone a signal that it’s been Mission Accomplished?”

MURAL THREE

The third Mural is the left side of the second Diptych. Ostensibly, it depicts all the children of the world carrying their nations’ swords wrapped in their nations’ flags, to a station in the center of the Mural where the German child in lederhosen from the first Mural is apparently beating the swords into ploughshares.

In the foreground, described by many as a dead military figure, lies what is actually a toppled statue of a military figure, his one foot broken-off where he lies, the other left attached to the statue pedestal. We will have much more to say about him in the context of the fourth and final Mural.

Two doves, probably mates like the whales and other animal pairs in Mural 1, are perched upon the toppled statue. In the bottom right corner, the cracked pedestal of the fallen despot reads

WAR
VIOLENCE
HATE.

A pretty rainbow surrounds the entire scene. In fact, the leading edge of the yellow stripe turns into a flying fairy-like child in the left foreground while the orange and red ones unfurl like banners around the fallen statue.
Denver Airport Mural 3

In the bottom left, a girl with a bloody headband reaches desperately toward the scene’s center. As in the first Mural, more Asian children are facing the wrong direction as everyone else. And though others are as well, due to assisting or speaking to other children nearby, the Asian examples stand out since they appear to be doing so for no apparent reasons. As all of the world’s swords are being brought to the German boy, he hammers away at the sword that was or will be wielded by the military figure in the fourth and final Mural. His upraised right hand is dressed in a metal glove as he clutches Mjolnir, Thor’s Hammer, a popular symbol embraced by Nazism, Neo-Nazism, Goth, and others Dark subcultures, and linked etymologically to the Labyrinth, the Double-Headed Axe, the Tau Cross, and the Swastika. His outfit was subsequently changed and made more colorful than the original gray shades; a green shirt behind him was changed to blue; and the expression on the woman next to him assisting him with the sword was changed from smiling to solemn. Again, as in Mural 1, the children’s bodies are described as deformed and disproportional.

Is the German boy instead actually forging the Despot’s Sword? Are the children actually creating the monster? Is this a disturbing specter of global child labor in service to the world’s Arms Dealers? Or is this Mural simply as it seems: The children of the nations of the world disarming themselves, turning swords into ploughshares, and ending war, after having toppled a brutal tyrant’s statue? And, if so, are they doing so naively, believing that the monster is dead, sleeping, dethroned, or removed from power, only for him to awaken, return, or revive to wreak the havoc of the next Mural?

But even putting all of that aside, like Mural 1 compared to its Mural 2 counterpart, this third Mural also at first appears to be a happier mural when compared to its upcoming counterpart in Mural 4. Most of the children appear to be happy, smiling and whistling while they work, and, judging from the second and fourth Murals, they seem to have no problem distinguishing happiness from unhappiness and misery.

And it shall come to pass in the last days, that the mountain of the Lord’s house shall be established in the top of the mountains, and shall be exalted above the hills; and all nations shall flow unto it. And many people shall go and say, Come ye, and let us go up to the mountain of the Lord, to the house of the God of Jacob; and he will teach us of his ways, and we will walk in his paths: For out of Zion shall go forth the law, and the word of the Lord from Jerusalem. And he shall judge among the nations, and shall rebuke many people: And they shall beat their swords into plowshares, and their spears into pruninghooks: Nation shall not lift up sword against nation, neither shall they learn war any more.

The passage from Micah has caused at least one devoted Christian to ask, “The boy beating the swords into plowshares is from Germany. Why would a German boy assume the duties of our Redeemer, Jesus Christ?” (Despite the fact that the passage comes from the end of the Old, not the New, Testament).

The central focus of the Fourth Mural (the right side of the Second Diptych) is the menacing military figure looming over the destroyed surrounding cityscape amid death and misery of children, grieving mothers, and large-scale relocation of the Masses.

He has been variously referred to as the Green Giant, Darth Vader, General Skeletor, Big Brother, and the Antichrist; he has been likened to an Alien and a Reptilian; he is an ominous tyrant, destroyer, despot, conqueror; a composite specter of 1984, Pink Floyd’s The Wall, and World War Two Europe; a Fascist, Totalitarian-looking military figure wearing a gas mask. And not a normal gas mask, but one variously described as scowling, alien-looking, wrinkled and skin-like, and fully integrated into his face, “making the face look more like some Sci-fi Bio-construct than a typical gas mask.”

He is wearing the traditional Nazi fascist black boot military garb. In fact, the emblem on his commander hat is more than reminiscent of the familiar Nazi emblem of the eagle with wings spread and standing atop the globe. Of course, the blatant Swastika has been removed, only to reappear outside in the design of the Runway system.

He carries an automatic weapon and the oversized sword from the third Mural. He is wreaking havoc and destruction on his entire surroundings. One of the two doves from the previous Mural is skewered at the end of his sword while the other is nowhere to be found.

In the left foreground stands a grieving mother dressed in drab hood and robes and holding her lifeless infant. Projecting from her into the distant, vanishing horizon is a row of refugees in abject misery. All dressed indistinguishably alike, they look like disembodied spirits, like something out of Dante’s Inferno or the dead in Hades moving from Lethe to the Elysian Fields.

To his left, three children are sleeping, dead, or trying to stay warm. They are wrapped in blankets and lying atop the rubble of bricks: One with a teddy bear to ensure that her age is unmistakable and one in the back who looks very, very young – almost newborn looking. One observer has noted that the children were since made more colorful and the child in the background “made into a minority.” Though these changes have not been confirmed, what is certain is that this Mural is now completely covered-up and gone.

The rainbow which connects to the third Mural moves overhead from left to right and wisps around the military figure, whereupon it turns transparent, floats and curls down before him, and ends-up at the sleeping children. It has been noted that the scene resembles poisonous gasses settling down upon the miserable refugees and homeless. According to Dr Len Horowitz, the rainbow is airborne biological gasses used to evacuate the Masses and kill the ethnic populations – which is not really so far-fetched since, after all, the Antichrist figure is prominently wearing a gas mask! The children on the bricks also eerily resemble a sacrifice about to take place as they lie upon the altar while mothers bring forth their newborns.

To his right, the ruins of buildings he has destroyed which some have called a church (though I can find nothing to so distinguish it) and others have mistakenly identified as New World Order buildings in progress (undoubtedly an issue with image size).

And, finally the sheet of paper, the Child’s Poem, in the bottom right corner:

I was once a little child
who longed for other worlds.
But I am no more a child
for I have known fear.
I have learned to hate …
How tragic, then, is youth
which lives with enemies,
with gallows ropes.
Yet, I still believe
I only sleep today.
that I’ll wake up,
a child again, and
start to laugh
and play.

Hama Herchenberg, 14 years old
Died December 18, 1943
Auschwitz Concentration Camp

The person and perspective of the poem is also significant in the Murals. Is it a tribute and memorial to the 14-year-old Auschwitz Concentration Camp victim who wrote it? Does it represent the joint sentiment of the suffering children of the nations of the world as depicted throughout the Murals? Or is it the ultimate inversion of sense, perversion of decency, cooption of good and right, and compound offense against Hama Herchenberg and the victims in the Murals, in history, under Nazism, and other atrocities, actually meant to be the sentiment of the military figure himself?! Is he the sleeping child from the third Mural?

I only sleep today.
that I’ll wake up,
a child again, and
start to laugh
and play.

In the fourth Mural he has awakened and, from his perspective, is just laughing and playing.

THE ORDER OF THE MURALS

As mentioned, the order of the Murals is important, especially since two of the four have since been painted over. I have combined two photographs to give the full effect of Murals 1 and 2 of the first Diptych.
The First Diptych

The first Diptych shares the same controversy over its sequence as with Murals 3 and 4 of the second Diptych. Does the grim vision of Mural 2 precede the more serene scene in Mural 1 or follow it, as we contend? Most people believe Mural 2 with the coffined women precedes the first Mural with all of the children of the nations of the world floating toward the Mayan Christ figure and his mysterious plant. Perhaps those people simply wish for a happy ending to the story on the first Diptych. But as we will see with the Doves in Murals 3 and 4, the proof is in the birds.

Even though the Quetzal bird hovers alive in Mural 1 and is stuffed and encased in glass in Mural 2 with a tag declaring its extinction, at least one observer has stated, and many others who have inquired agree, that “the bird that was stuffed and in a glass case in the mural with the dead women is now alive and flies overhead.” Rather, the bird that is alive and flies overhead in Mural 1 ends up stuffed, extinct, and in a glass case in Mural 2. It is curious that it should even require clarification, but indeed it does, since most report the order of the first two Murals reversed.

But, of course, that would plainly defy the natural and obvious order of things, that Mural 2 portraying dead and extinct plants, animals, and people would precede Mural 1 wherein those same entities are still alive and well. And it certainly is not meant to be implied that all of the dead were meant to reincarnate, resurrect, or be reborn from their ashes. So, regardless of what physical order in which they may have actually occurred, the correct sequence or chronological order of the two murals of the first Diptych is Mural 1 first then Mural 2.

Of course, the only thing that could justify the reversal were if it were a depiction of a Peaceable Kingdom Afterlife for all extinct species and murdered children of the world, or a collective dream. That would certainly explain their floating.

I have also combined the photographs of the third and fourth Murals to give the full effect of the second Diptych.
The Second Diptych

As with the first, Murals 3 and 4 in the second Diptych pose the same controversy over its sequence. Does the horrifying vision of Mural 4 precede the more paradisal scene in Mural 3 or follow it, as we have contended? Everyone sees the military tyrant wreaking havoc before the Mural of the children turning in their swords and achieving peace in the world; first, as with the first two Murals, because this provides a better storyline by showing the victory over political oppression and tyranny; and, second because he is alive in the fourth Mural and appears to be dead in the third.

But, at second glance, the dead tyrant may only be asleep; and at third glance it becomes clear that the dead or sleeping tyrant is actually but a recently toppled statue, which would then allow either sequence of Murals 3 and 4.

But ultimately it becomes clear that 3 precedes 4, that all of the world’s children have innocently disarmed their nations in the third Mural and overturned the Despot’s statue, and in the fourth Mural the military tyrant awakens or simply appears and devastates everything. It is in this sense that he is indeed an Antichrist character who first fully gains the trust and awe of the people of the world only to turn and destroy them.

The following confirms the sequence of Mural 3 before 4:

1) Wreckage in the bottom left corner of Mural 4 clearly connects to and mirrors the statue pedestal in the bottom right corner of Mural 3.
2) As with the Quetzal bird in the first two Murals, one Dove in the fourth Mural is being killed and the other is gone who were both alive and at peace in Mural 3.
3) The Rainbow seamlessly connects Murals 3 and 4, one of its main purposes. It starts in mural three, the yellow stripe as a flying fairy girl and the red and orange stripes as flowing banners, loops across the top of the Mural and enters at the top left end of the fourth Mural.

And again, as with the first Diptych, the only thing that could justify Mural 4 occurring before Mural 3 were if Mural 3 were the depiction of a longing, collective dream by children escaping from the reality expressed in the Murals, spurred on by the horror and devastation that they experience. In that case, it wouldn’t really matter what order 3 and 4 were in. And, after all, this one is called Children of the World Dream of Peace.

The following rare photograph completely confirms the order of the third and fourth Murals. It contains both murals in the order that I have contended and with an airport door between them. Though the picture is not stellar, The telltale rainbow connecting them both is sufficiently visible as is the dove being stabbed by the Antichrist’s oversized saber.
Murals 3 and 4 In Sequence

All in all, like the doctored photograph of Oswald holding the rifle with its inconsistent shadows and proportions, the reversing of frames is an old trick we have seen with the re-ordered frames in the Zapruder Film of the Kennedy Assassination. In that case, of course, Dan Rather’s private viewing and public report helped to validate the integrity of the version with the frames reversed and was instrumental in its initial acceptance (not to mention its critical role in the awarding of his career).

So both Diptychs begin with the relatively more positive Mural and progress into the more hellish. And even now, after two of the four Murals have been painted into homogeneity, the Airport still refers to the remaining second and third Murals as a Diptych, though each was once a part of different Diptychs. I have combined the photographs of the second and third Murals to again give the full effect of the remaining Hybrid Diptych.
The Hybrid Diptych

CONCLUSION

Leo Tanguma is a Chicano artist-activist who has created murals throughout the country: “My mission is to emphasize human dignity in all people, preserve the heritage of Chicanos, and most importantly, to stress the ideals of love, respect, and justice.”

Standing before one of the murals, he says he doesn’t understand all the criticism and controversy the murals have generated. He should have looked over his left shoulder at the three coffined women who are just out of sight in the photograph of the second Mural behind him.

In some interviews, he claims that strict guidelines were provided for the murals. In others, he denies he ever said it.
Murals Artist, Leo Tanguma

It could be said, in defense of those who conceived of and rendered the motifs and vision, that their depiction of the horror, death, relocation, and misery of the children of the world, including the poem by the child Nazi death camp victim, is rather in protest and as a means of confronting the issues in Art. After all, Picasso’s Guernica, no less horrific, was never subjected to the same scrutiny or suspicion. But the gallery of choice to expose the message of the Murals just happened to be the largest terminal in one of the busiest Airports in America where millions of families pass through each year.

In Clockwork Orange, Alex, played by Malcolm McDowell, a hardened juvenile delinquent of the bleak future, begins reading the Bible while in prison. The prison pastor smiles proudly nearby, watching the passion in Alex’s face as he reads. When given a glimpse into Alex’s thoughts, though, we find him dressed as a Roman soldier and joyously flogging a suffering, Cross-bearing Jesus. And it is clearly in this spirit that the misery in the Denver Airport murals is portrayed.

And like the sleeping Monster, the military despot, the Destroyer, the Antichrist figure who will wake again to laugh and play, the subject in W H Auden’s Epitaph of a Tyrant

Knew human folly like the back of his hand,
And was greatly interested in armies and fleets;
When he laughed, respectable senators burst with laughter,
And when he cried the little children died in the streets.